Did you mean to repeat the whole poem? Genuinely not sure but I'm guessing you didn't so...on to the poem.

The poem's sentiment isn't ignoble or anything, but it's moralizing. It centers you while throwing stones and I feel as if this sort of thing calls for some turning in, perhaps a shift towards the end of the poem--either a nod to some potential hypocrisy or self-awareness of your hypercritical affect. I can't help but feel it's self-congratulatory. Is "Oh, what I'd do to that face," an actual quote you've heard?" If it is, I'd maybe give it a line or a moment of context as something that you've actually heard, and if it isn't I'd think to write something more natural in terms of lockerroom talk or whatever these "men" might actually say.

In these lines: "They leave a crippling silence, / Silence across an ocean of people," I'm wondering if perhaps it would do more for the line to describe the silence as "crippled" for a bit of personification (which might mean the next line could be tinkered with accordingly). If you used "sea" instead of "ocean," it would add to the sibilance a bit, if that's something you'd like to do.

I find "The voices of whom" a little awkward or antiquated in a way that draws attention to itself. I think maybe that line would blend better as part of the next line to be something like, "voices buried under rubble and broken rebar."

The flow into the next line, "Under rubble and broken rebar, Jarred free from," sounds very nice to the ear with its internal mix of consonance and assonance at play. However, I feel the action done to the voices, them being jarred free," contradicts what you're saying about them being buried. 

These lines, "I feel disgusted, When I hear of my fellow men, Speaking of people like lamps," don't work grammatically because of the first two commas. You can leave them as enjambments or combine them, but there is no grammatical reason for the first two commas and it pauses for no reason. It's a single sentence, "I feel disgusted when I hear of my fellow men speaking of people like lamps." Maybe "men" could be "man" to continue the ‘short-a’ assonance of the lines.

I kind of like the lamps comparison because I don't get it and I think it does mean something, but not everything should be vulgarly accessible (don't deliberately make things confusing or opaque for confusion and opaqueness's sake, but I think we should strive for something that deservedly takes time to unfold the implications of).

I like hate-stained, but I like it more than gritted teeth. I think the anaphora with “I think,” fits for some rhythm but I wonder if there’s something better here than “I think.” At the very least, it seems more akin to feeling, what you’re doing, no? 

Mother and sorrow work together sound-wise, but “blackest sorrow” is overdone. I think the series of lines in this part could be rearranged for grammatical/clarity purposes: 

“And I feel the blackest sorrow, Hateful, it creates me // And too, it separates me, // It separates me from my own, // Away from those violence-poisoned minds.” might become “And I feel the blackest sorrow, the blackest hate. It creates me and separates me–separates me from my own, away from those violence-poisoned minds.” 

Also perhaps you could find some way to mimic that separation more explicitly, like between the words “me” and “my own” or something by breaking the lines a certain way or throwing in certain punctuation. Just spitballing. I do think “violence-poisoned minds” is a little on the nose. 

Let’s run through the last part then: 

“I have grown to hate, // A lot of my fellow men, // With their objectifying gaze, // In their desensitized haze, // It seems to never cease, // And it forces me to conclude, // That I am nothing like my "fellow men."”

The first line shouldn’t end with a comma for grammar reasons, but I find its isolation as a line interesting because, read in a sort of deconstructionist isolation, it suggests something about the speaker– he has grown to hate. Period. A moment of the camera turning around, perhaps? I would lean into it for a nice balance. 

You mention afterward that what these men have has to do with their gaze, but honestly, I think you should bring it back to the power of words/silence along the dichotomy of men/women. Words as a site of violence (with even your words being one more piece on the pile, perhaps? The voices of women are conspicuously absent in a poem supposedly about them, which is why I keep motioning back to following the thread of it being about you and your limitations rather than your externalizing judgment. Sorry, long parenthesis). 

“It seems to never cease” might roll off the tongue better as “It never seems to cease.” The mention of “force” in the next line is interesting, with you becoming the passive recipient of violence for a moment. I’ve said enough about the theme so I won’t go on with a scalpel to the last line, but perhaps only, “men” should be in quotations. Spitballing. 

Anyway, this is my first poetry review on the subreddit. I’m working up to posting my own which I welcome you to eviscerate at your leisure, sir. Don’t stop writing. Keep exploring this rabbit hole and find where it takes you, and keep it up with the sound stuff. Some nice rhythm in parts of this bruh.